CCAR RESPONSA
New American Reform Responsa
50. Portrait in a Synagogue
QUESTION: Is it permissible to hang a large picture of the Four Chaplains in the vestibule of a synagogue? The oil painting depicts the chaplains who bravely sank with the Dorchester, in the Atlantic in World War II. (Wilham R. Guaroscio, Monongahela PA)ANSWER: The prohibition against works of art in the synagogue is based upon the Decalogue statement “You shall not make unto yourself a graven image” (Ex 20.4; Deut 5.8). When the Talmud discussed these prohibitions it principally dealt with human figures, as well as those described by Ezekiel’s vision along with the sun, moon and stars (A Z 43b; R H 24b). In the later codes the prohibition was further restricted to encompass only those objects which were three dimensional in nature; this excluded embroidery as well as wall paintings (Tur and Shulhan Arukh Yoreh Deah 141). Yet a statement in the Talmud described a bust of a monarch in a synagogue (Meg 29a; A Z 43b; Sherira Gaon Sheeltot (ed) Lewin p 72). Although Rav and Samuel attended this synagogue they did not object to the bust. Eventually the codes indicated that there would be an objection only to a complete figure but not to a bust (Tur and Shulhan Arukh Yoreh Deah 141). Interestingly enough the further development of the prohibition against pictures and images was not connected with idolatry or the danger of idolatry, which was the concern of the second commandment, but simply with the possibility of distracting the worshipper from appropriate devotion in the synagogue or concentrating on the text of a decorated book (Tos to Yoma 54a; Sefer Hassidim #1625; Shulhan Arukh Yoreh Deah 141; Meir Katzenellenbogen Avqat Rahel #65). These discussions stand in contrast to the decorations found in synagogues both ancient and modern. The synagogue at Dura Europa in Syria as well as various others in Israel have demonstrated that two dimensional figures were frequently used. Furthermore, the many volumes by E. Goodenough (Jewish Symbols in the Greco-Roman Period) show us a large number of pictorial images of plants, animals, as well as human figures on sarcophagi, ritual objects, coins and in synagogues. Josephus, Philo and other Hellenistic authors expressed themselves on the subject as well (Joseph Gutmann ‘The Second Commandment and the Image in Judaism” Beauty and Holiness pp 1 ff). Abstract designs, in place of portraits or figures, were used in synagogues in Islamic lands as Muslims permitted no figures in their decorations. Other cultures influenced us in different directions so the ketubot of the Renaissance often showed human figures (Abraham Hiya De Boton Lehem Rav #15). De Boton felt that although we should not encourage decorations; it was not necessary to destroy the ketubah (Franz Landsberger “Illuminated Marriage Contracts” Beauty and Holiness, (ed) J. Gutmann pp 383 f). Although marriage contracts did not find a permanent place in the synagogue, the ceremony at which they were read took place in the courtyard of the synagogue or in the synagogue itself. In modern times Orthodox synagogues frequently restrict their window or other decorations to abstract designs. However, they continue to use lions and other figures on the Torah ark parokhet and Torah covers in two and three dimensional forms (Dov Baer Menkes Anaf Etz Avot #4; J. Greenwald Zikhron Yehudah Orah Hayim #63). Conservative and Reform synagogues use figures in their windows as the Tree of Life (Pittsburgh) where a window portrays Isaac Mayer Wise, the founder of Reform Judaism, in this Conservative synagogue, and Rodef Shalom with many figures. There is no religious problem about hanging a picture of the Four Chaplains in the foyer of the synagogue. Questions about the artistic merit of the picture as well as other local considerations should be taken into account.December 1987
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